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This thesis examines the presence of American military personnel in Australia during the Second World War. Around one million US soldiers spent some time in the country. This American occupation resulted in several areas of tension between US military personnel and Australian civilians. Areas of conflict, that have hitherto received little attention from historians, are examined in this dissertation. Jurisdictional and policing disputes between the US military and Queensland officials, American criminal behaviour, and problems between Australian labourers and American authorities are all examined. Other "fault lines," such as race and gender relations, which have been looked at by other historians, are also examined; this thesis provides new insights into these areas. How senior authorities on both sides managed crises and coordinated efforts to manage relations between civilians and Gls are also studied. Sexual relations were directed towards certain associations (prostitution), whilst other associations (marriage) were discouraged. Authorities increased efforts to manage interracial sexual relations, as both countries had a history of discouraging and even outlawing miscegenation. Ultimately, this thesis argues that problems between American personnel and Australians during the occupation did not threaten to upset the war effort or the alliance between the United States and Australia, but there were everyday problems between allies and concurrent efforts to manage relations in the context of a global war. / Thesis / Doctor of Philosophy (PhD)

Yes / This study assesses the wartime intelligence activities of the leading Hungarian historian Gyula Szekfű, and the controversial diplomatic role he played in Moscow after the Second World War. It is argued that the scholar-turned-diplomat nurtured the forlorn hope of mitigating the impact of military defeat by securing Soviet benevolence towards Hungary. Szekfű’s deep anxiety for his country, inextricably entwined with his own existential fears and a powerful motive of self-preservation, contributed to his complete political metamorphosis. Instead of justifying or condemning his inconsistencies and moral choices, this article traces the elements of continuity in his thinking and in Hungarian foreign policy.

The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of the Night (1964) and Elem Klimov’s Come and See (1985). Spanning forty years, I will examine how these films, whilst sharing many thematic and formal concerns, are unquestionably diverse. They are products of specific socio-cultural milieux, but are also important works in the evolution of cinematic style in art cinema. The films can be aligned to various trends such as neorealism (Paisan, Germany Year Zero), Modernism (Ivan’s Childhood, Diamonds of the Night) and Neo-expressionism (Come and See). Structured in four parts – on witness, landscape, loss and play – I will suggest that just filmmakers utilise childhood experience – often fragmented and chaotic in terms of temporality - to reflect the chaos of war. The first part of my study focuses on the child as witness, the child as Deleuzian seer. I draw on the writings of Gilles Deleuze as well as post-Deleuzian interventions of Tyrus Miller and Jaimey Fisher to argue that whilst Deleuze’s characterization of the child figure as passive is somewhat problematic when applied to the neorealist works, it can, however, be more rigorously applied to Come and See, a film in which, I suggest, the child embodies a much purer form of the Deleuzian seer. In the second part of my study, drawing on the work of Martin Lefebvre and Sandro Bernardi amongst others, I discuss the representation of landscape and its relation to the figure of the child. The third part will examine the representation of loss as well as the symbolic quality of water and its links to the maternal with reference to psychoanalytic theory and the poetry of Rabindranath Tagore. The fourth and final part also draws on psychoanalysis in examining the role of play in the six films with particular reference to the work of D.W Winnicott and Lenore Terr. My study seeks to contribute to the comparatively under-explored subject of the child in film through close analysis of film aesthetics including mise-en-scène, editing, and film sound.

The topic of this essay is whether the private owned ammunition factory Norma Projectile AB was a part of a war economy system from 1938 to 1943. This is done by analyzing specific documents from the company´s archives that expose the connection with Swedish authorities. The selection and analysis of these documents are based on four main criteria’s of the concept war economy. These criteria’s are based on Ivan T. Berends texts about war economy. The results show that the factory to some extent was a part of a war economy based on these four criteria’s. However, the answer to the questions is a bit more nuanced. By nuanced I’m referring to the company’s independence towards the state. By the end of this essay there is a more detailed discussion on this subject.

This thesis is a narrative and analytical history of the Hungarian air service. It follows its development from the Allied intervention of 1919 through the end of the Second World War. Denied an air force by the Treaty of Trianon, Hungarian airmen determined to thwart the inspection system and preserve national air power. The prohibition against military aviation persisted after the Commission was withdrawn, and through Hungarian diplomatic efforts, a relationship was established with Italy that included substantial assistance to the clandestine Hungarian air service. This low-grade arms build-up continued through the 1930s, during which there was a robust discussion about air power theory and the nature of future aerial warfare in Magyar Katonai Szemle [Hungarian Military Review]. After the rise of Hitler, Germany offered arms credits and support for Hungary’s obsession with regaining the territory lost in the post-war settlement. The air service grew mainly through imported aeroplanes, the purchase of which ceased to be secret after the Little Entente recognised Hungary’s equality of arms. The Hungarian air force became independent in 1939, and enjoyed public acclaim after decisive air-to-air victories over Slovak pilots during the occupation of Upper Hungary. The General Staff never accepted its autonomy, however, and succeeded in reclaiming control of the air force in 1941. After Hungary joined the Axis invasion of the Soviet Union, the air force provided air defence and interdiction in support of the Rapid Corps. Its mounting losses were made good by German aeroplanes, some of which were produced in Hungarian factories. As the Allied bombing campaign against Hungary intensified in 1944, most of its aircraft were devoted to homeland defence. The force ceased to exist as a true national service after the German-led coup in October 1944, but continued a fighting withdrawal to the west until captured by American forces.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

The thesis are concerned with the project Erweiterte Kinderlandverschickung at the area of Protectorate of Bohemia and Moravia in term of the organisation, the everyday life and the educational strategy of National Socialism. The authoress is interested in war experience of the children in the KLV camps and the post-war comemoration of KLV as well.

Title Opinions of a German about the value-shifts in the society after the Second World War. Interpretation of the novel "Clown" by Heinrich Böll and its film adaptation Abstract This diploma thesis deals with the novel The Clown (1963) by an important representative of the German post-war literature Heinrich Böll and its film adaptation (1974) of the same name by a Czech director Vojtěch Jasný. The first part of the thesis presents author's life, literary work as well as the roots of his broadly humanistic view of life, which are closely interlinked with his strong Christian belief and his personal value system. The main target of the thesis is a thorough interpretation of the novel, in which author's critical viewpoint on the socio-cultural development of the post-war German society is very strongly reflected. The author's sharp satirical tone in this novel and the very evident anticlericalism are being looked at and explored in terms of the biblical motto of the novel and its main message. The aim of the final chapter is to point out the main differences between the novel and the film adaptation. Key words Heinrich Böll, value-shifts, the German society after the Second World War, Catholicism